American Paintings

Cubist oil painting “Roost” by John S Weller

Very nice original vintage painting of Albert Einstein in pink with light green background - does not appear to be signed anywhere.

Huge modern expressionist oil painting, leaving by Michael Hafftka, Dimensions: 62" W × 2" D × 78" H Item type: Vintage, Condition notes: Excellent, minor wear consistent with a...

This finely executed watercolor painting depicts a tranquil pastoral landscape, featuring a gently winding river bordered by verdant meadows adorned with haystacks. The artist employ...

Vintage (20th Century) richly-captured still life of game birds, rabbit and fowl laid out on a butcher block alongside a rounded loaf of bread, fish...

A large oil on canvas by Harriet Rosendale. Harriet Rosendale was a well-known and well-listed Cconnecticut artist, who achieved national recognition in the 1950’s for her figurative...

Night train Original painting by Lynn Curlee This painting was used as an illustration in trains, a picture book for older kids published by Simon & Schuster in 2009. Mr Curlee is...

A remarkable scene from Dante's Inferno with three nude male figures and a horse, all imbued in white, black and red the color of blood was painted by Emil Kosa, Jr. The central figu...

Elegant hand work on paper probably pastel or watercolour by the Artist Depicting Two nude female , nicely done , professionally framed in new bamboo wood frame . Ready to enjoy...

Large Yellow and Red Paisley meditation painting by Carol Bertrand Amazing large canvas with colors of yellow, red, green and dark pink. Signature of artist in the lower right corner. Swirling shapes of moving energy. Carol Kuhlman Bertrand grew up in Missouri and studied Occupational Therapy at Mount Mary College in Milwaukee WI...

Herbert F. Johnson Museum of Art: Handbook of the Collections. Herbert F. Johnson Museum of Art/ Cornell Univ., Ithaca, NY, 2018. First edition softcover. This handbook consists of a...

American nautical oil on canvas of single masted schooner yacht under full sail with American flags, and crews on deck while second vessel victory is approaching. Painting is mounte...

Stan Natchez (Shoshone/Paiute, b. 1954) Navajo against a phone directory Mixed media on canvas Unsigned 123cm x 22cm Provenance: Property from a Private Collection, Berkshire Acquir...

Liaisons II Original painting by Lynn Curlee One of a series of eight paintings based upon 17th century French engravings. Each painting includes a man, a woman, and a dog. Mr Cu...

Liaisons V Original painting by Lynn Curlee One of a series of eight paintings based upon 17th century French engravings. Each painting includes a man, a woman, and a dog. Mr Cur...

Lovely original framed portrait of a woman, acrylic on canvas with ornate frame. Artist and provenance unknown. Beautifully adorns a wall either on its...

Copy of a painting titled "Nude" showing classical rendering of partially clothed nude on bed with pillows.

This mesmerizing artwork is certain to bring any wall to life. In lapping shades of blue, fuchsia, and black, this piece may at first glance appear like an ordinary abstract painting...

Nautical scene Post Modern oil on canvas painting. Rich vibrant colors with beautiful composition. Shipping from Orange, California.

Painted with great verve and energy, this depiction of a circle of ice skaters circumnavigating a rink in Chicago -- perhaps the Lincoln Park Zoo rink -- was made in 1943 by John Win...

For your consideration, a oil on canvas Abstract Landscape from the 1960s. Landscape Nature Reflections. Signed L Crane 37 x 48.75 x 1.5 Preowned original vintage condition. Refer to...

This mesmerizing artwork is certain to bring any wall to life. Four squares in shades of pink, orange, purple, and green are colored in halftones, reminiscent of 20th century Pop Ar...

William Preston (1930-2015) - Architectural watercolor over graphite rendering on T.H. Saunders watercolor paper - wonderful use of strong color and co...

Original Painting by Peter Keil This striking black and white acrylic painting on board by Peter Keil captures a unique blend of abstraction and expressionism. The artwork features ...

Beautiful water color painting by Maureen Wilkenson, CT. Street life in Paris, circa 1960. New frame.

JOHN R. WATTS (Unknown/Unidentified Artist) - Folk art watercolor and gouache landscape painting on paper - graphite highlights and shading - unframed - signed and dated lower right ...

Make a monumental statement with this stunning large-scale original abstract painting. Rendered on canvas, the piece features a richly textured ground of vibrant, earthy green, provi...

Abstract by Ben Hanisch (b.1986) Painted in 2022. Measures: 50” x 40” Acrylic on canvas, painted edges, stretched on wood stretcher bars.

A powerful, well-executed vintage mid century abstract painting fresh from a high-end mid century art collector's estate. ...

Bold Colorful acrylic painting on canvas depicting a "Glimpse of the Sea" through a house in tropical garden with bananas, executed in a modernist style, signed John Kiraly in the lo...

Large impressive painting of nude figures. Oil on canvas, recently framed, signed Ladin (California Bay Area artist). American, mid-20th century. ...

1966 Sonia Chusit Abstract Nude Oil Painting on Canvas Offered for sale is a 1966 abstract oil painting on canvas by the American artist Sonia Chusit (1926-2023) . The work depict...

Oil crayon on paper by listed Figurative Expressionist artist Irving Kriesberg, dated 2001. Early in his career, Kriesberg was included in The Museum of Modern Art’s 1950s exhibition...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Oil crayon on paper by listed Figurative Expressionist artist Irving Kriesberg dated 2012. Early in his career, Kriesberg was included in The Museum of Modern Art’s 1950s exhibition ...

This fun folky pig painting is painted on a plywood panel. The back is unpainted and ready for hanging in a house or restaurant. This amazing folk art pai...

This captivating oil on stretched canvas, signed in pencil "MARS" on the wood of the canvas frame. Rendered in the Expressionist style, the painting draws you into an intimate moment...

Late Victorian artwork oil painting on canvas in the original frame by Ellen B. Farr of the Pasadena San Gabriel Mission in Pasadena, California Signed "Ellen Farr" Farr née Burpee was born on November 14, 1840, in New Hampton, New Hampshire. She studied at the New Hampton Institution and the Thetford Academy in Vermont. She then taught drawing at the New Hampton Institution. On May 19, 1861, she married Evarts Worcester Farr with whom she had three children.[1] He was a member of the Second Regiment Volunteers in the Union Army...

Copy of an impressionist interior scene titled "The Breakfast Room" showing couple at breakfast with servant in background

Best known for his handsome, beautifully-crafted furniture designs, much in demand today, Tommi Parzinger also painted over the span of his career. His rare, early works -- such as t...

American Contemporary abstract oil painting on paper with the colors of black, brown, and some grays in a black frame (ED ELLER)

A fabulous modern abstract by enormously talented Arnold Weber (1931-2010). Tremendous mood and energy. Expert use of vibrant color that will bring a smile to your face. This Killer ...

A beautiful Georgian or Regency style hand-painted framed oil on canvas lover's eye painting USA, Early 21st Century Measures: 11"W x 1"D x 9.75"H. Excellent original vintage cond...

A striking gouache on paper by Robert Freiman, signed and dated 1957. Robert J Freiman (b. 1917 - d. 1991), deaf from birth, was born in New York City and attended the Lexington School for the Deaf. He studied art at the National Academy of Design, Pratt Institute, the Art Students League, the Parsons School of Design, and, in Paris, at the Ecole des Beaux Arts. Freiman’s spectrum of styles evolved considerably over the course of his long career, ranging from early portraiture and realistic landscape to mixed-media works using watercolor, acrylic, and pen. He was a regular exhibitor at the Sidewalk Art...

The five pen-and-ink drawings by Lauzon represent various aspects of a summer concert of the Boston Symphony Orchestra at Tanglewood, Lenox, MA: the co...

Dong Kingman Large Original Watercolor Painting "Besakih Temple", Bali" Signed. 21" x 15" No frame Artist or Maker Dong Kingman Medium Watercolor Artist Biography: Dong Kingman (...

Cuban American Artist Geiler Gonzalez Painting "Woman with Hat" Offered for sale is an acrylic painting on canvas titled "Woman with Hat" by Cuban-Ame...

Large MCM abstract acrylic on panel original painting by listed artist Richard Mann, circa 1960s. The piece is in very good vintage condition and is presente...

Very rare, Vivid, Mid Century Modern, Abstract Expressionist Framed Oil Painting on Canvas, hand Signed M. Q. Rothwell. (Michael Quincy Rothwell) This eye-catching, modernist Rothwe...

Painted by Eugene Savage -- arguably, America's most successful and prolific muralist in the Art Deco style, with important surviving paintings dating from the 1920s to the 1950s -- this study was made for a Zodiac-themed ceiling mural. The round painting features a night sky jeweled with bands of stars, and featuring several mythological figures such as Helios with his chariot and Cornucopia. Savage is best known for a spectacular set of murals illustrating the history and lore of Hawaii commissioned by Matson Shipping Line for the S. S. Lurline, executed in the 1940s but not installed until the 1950s. The artist also painted other series of murals and paintings, include an enormous mural...

Original Acrylic Painting by NYC artist M.E. Harston titled Love! Love! Love! in the original red painted frame. Signed within the artwork and titled on the matting in pencil. Matted...

CHARLES W. SVENSSON United States, 1871-1927 A Wooded Landscape Oil on artist's panel signed lower right 16 5/8" H x 16" W [panel] 20 1/4" H x 19 5/8" W x 1 5/16” D [frame] Essa...

Large Post-Modern abstract painting on canvas. Titled on the stretcher. Unsigned. Possibly tempera or acrylic medium. Overall approximate measurements with the frame are 2.5" deep ...

19th century nautical watercolor painting depicting the Cutter Massachusetts built at Newbury port in the Commonwealth of Massachusetts in the year 1791. Watercolor seascape with rev...

Post modern color block painting, ca. 1980s, by Robert Hrynkiw, whose work is included in the collection of the Ukrainian Institute of Modern Art in Chicago.

Large Abstract Geometric Painting by Carol Bertrand . Colorful post modern abstract acrylic painting in wooden frame. Amazing large geometric composition of purple, black, yellow, wh...

B. McKAY - 'La Jolla' - Vintage watercolor painting on paper - signed and dated lower right - titled and dated verso - contained in a bronze finish metal frame - finished with a sing...

The Deck series. This screen-printed skateboard triptych was designed in 2014 by The Skateroom with the Estate of Jean-Michel Basquiat. It is a reproduction of Basquiat's 1983 work, In Italian. Float-mounted on encaustic painted boards. Framed in maple float frame with 24 K gold leaf front. Art Dimensions: 48 x 36 H inches Framed Dimensions: 49.5 W x 37.5 H x 4.5 D inches Over a year in the making, Decks is a mixed media series combining O'Hara's favorite medium, encaustic wax, as the backdrop and base for art-edition skate decks. The skate decks, screen-printed with contemporary art by Warhol, Basquiat, Haring, and more, are float mounted onto board. With a nod to pop art and street art, each board is painted to complement the decks that sit atop. In works like Deck 15 and Deck 18, O'Hara float mounts sets of Keith Haring decks...

American Victorian landscape painting of a fall forest scene with trees near a creek in a gold frame (signed?)

Mid century portrait of a young girl on board in red, blue and yellow tones, custom frame, 1960-70's vibe.